Film noir fashion lives on with contemporary style-setters

Lana Turner, Ava Gardner, Veronica Lake, Lauren Bacall, Rita Hayworth and Joan Crawford.

Lana Turner, Ava Gardner, Veronica Lake, Lauren Bacall, Rita Hayworth and Joan Crawford.

“I saw ‘Rear Window’ and I swear I felt my brain chemistry change,” says film and fashion educator Kimberly Truhler, explaining how she acquired her love of movies and clothes. “I thought why doesn’t everyone  dress like that today?”

Kimberly Truhler

Kimberly Truhler

Gabriela Hernandez

Gabriela Hernandez

Truhler’s comment was part of a terrific talk she delivered Sunday at the Skirball Cultural Center in West Los Angeles. (Her lecture on the history of fashion in film noir was part of the Skirball’s ongoing “Light & Noir” exhibit.)

During World War II, film industry designers were affected by shortages of fashion materials, such as silk and rubber. Additionally, they had to work around the strict codes of the censors, ensuring that no navels were shown and that legs were properly covered. Carefully constructed two-piece ensembles and thigh-high slits were a few of the ways to circumvent the wardrobe strictures set down by the Hays Office.

Vera West

Vera West

And, of course, designers had to disguise any figure flaws of their leading ladies and men. For example, in “This Gun for Hire” (1942, Frank Tuttle) Edith Head found subtle ways to elongate Veronica Lake’s diminutive (4’ 11”) frame.

Truhler dissected several other classic offerings: “Casablanca” (1942, Michael Curtiz, costume design by Orry-Kelly), “To Have and Have Not” (1944, Howard Hawks, costume design by Milo Anderson), “Mildred Pierce” (1945, Michael Curtiz, costume design by Milo Anderson), “Gilda” (1946, Charles Vidor, costume design by Jean Louis), “The Killers” (1946, Robert Siodmak, costume design by Vera West), “The Postman Always Rings Twice” (1946, Tay Garnett, costume design by Irene Lentz) and “Sunset Blvd.” (1950, Billy Wilder, costume design by Edith Head).

Surprising, given the importance of clothes in establishing character and mood, the Academy did not award an Oscar for costume design until 1948.

Irene Lentz

Irene Lentz

Truhler, who sees 1946 as a stand-out year for film noir, discussed the iconic look of each movie and showed how the designer’s influence is still keenly felt on contemporary runways and with today’s style-setters. She also elaborated on the challenges and pressures costume designers face, pointing out that the legendary Ms. Head “borrowed” work from other people to snag her job at Paramount.

On a sad note, three great talents of the costume-design business (West, Lentz and Robert Kalloch) committed suicide.

We at FNB are looking forward to Truhler’s books – one on the history of film and fashion and another on Jean Louis, who was married to Loretta Young from 1993-1997.

Following Truhler’s talk, Gabriela Hernandez, founder of Bésame Cosmetics, gave a great lecture on the evolution of makeup in the movies (it all started with Max Factor) and how cosmetics were used in the 1920s, ’30s and ’40s to create the look of a siren. A raffle winner got a demonstration on how to amp up her film noir allure with Bésame products.

Event photos by Roxanne Brown

Ginger Pauley is known as the Vintage Girl.

Ginger Pauley is known as the Vintage Girl.

Margot Gerber and a fellow retro enthusiast at the Skirball Cultural Center.

Margot Gerber and a fellow retro enthusiast at the Skirball Cultural Center.

Erin Cherry perfectly pulls off a film noir look.

Erin Cherry perfectly pulls off a film noir look.

Redheads rule!

Redheads rule!

History of fashion in film noir highlighted Sunday at the Skirball Cultural Center

Mildred Pierce (1945). Shown: Joan Crawford and Ann Blyth. Photo © Warner Bros.

“Mildred Pierce” (1945, Michael Curtiz). Shown: Joan Crawford and Ann Blyth. Photo © Warner Bros.

Who doesn’t admire the polish and panache of ’40s fashion, particularly as worn by the leading ladies of film noir?

Kimberly Truhler will discuss the era’s influences and evolution in a lecture at 1 p.m. Sunday, Dec. 7, at the Skirball Cultural Center in West Los Angeles.

During World War II, the film industry was affected by shortages of fashion materials. Truhler will examine how in spite of these restrictions – and sometimes in response to them – costume designers managed to create some of the most iconic looks of the time, worn by stars such as Rita Hayworth, Ava Gardner and Lana Turner. These innovations not only defined much of 1940s style, but also continue to influence our fashion today.

Truhler is a historian, educator and founder of GlamAmor, a website dedicated to preserving the history of fashion in film.

Following the program, Gabriela Hernandez, founder of Bésame Cosmetics, will talk about the history of makeup and show how to achieve that film noir look.

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Jeanne Carmen

Jeanne Carmen

At 3 p.m. Saturday, Dec. 6, at the West Hollywood Library, Brandon James (author and son of Jeanne Carmen) will discuss his book Jeanne Carmen: My Wild Wild Life as a New York Pin Up Queen, Trick Shot Golfer & Hollywood Actress.

James documents his mother’s encounters and friendships with Marilyn Monroe, Elvis, Lenny Bruce, Howard Hughes, Bob Hope, Joe DiMaggio, Sam Giancana, Johnny Roselli and many more.

We wrote about Jeanne Carmen’s legacy here and Brandon James kindly shared copies of his mom’s movie posters, which we displayed here.

This program will take place in the library’s community meeting room and parking validation will be provided. The library is at 625 N. San Vicente Blvd., West Hollywood, CA, 90069. 310-652-5340.